Arranged by Hans Zimmer & Nick Glennie-Smith Orchestrated by Fiachra Trench & Nick Glennie-Smith Orchestra Conducted by Fiachra Trench Recorded & Mixed by Malcolm Luker Produced by Hans Zimmer & Bille August
Score Recorded at Arco Studios, Munich, Germany
Second Enginner: Jamie "Irie" Luker Score Services: CUE MUSIC Ltd. Scoring Co-ordinator: Daniel Brock American Support Team: Michael Stevens, Dave Pardue, Nico Golfar & of course Jay Rifkin Assistant to Hans Zimmer: Tobias Heilmann Equipment: Akai, Dynatek, Euphonix, Steinberg & Yamaha
Soloists: Clarinet: Jürgen Musser Oboe / Cor Anglais: Martin Spanner Trumpets: Richard Stuart & Douglas Myers Guitar: Michael Stevens Piano: Nick Glennie-Smith
"La Paloma" Written by Sebastian de Yradier Arranged by Michael Jary Performed by Rosita Serrano
Special Thanks to: Bille August, Bernd Eichinger, Martin Moszkowicz, Niels Arild, Dieter Meyer, Janus Billeskov Jansen, George Nashke, Udo Lange, Mark Mancina, Bret Newman, Bob Daspit, Jeff Rona, Sara Kaplan, John Mitchell, Sam Schwartz, Michael Gorfaine, E.S.I., ROCK-IT Cargo, Karl Rickert, Franz Kriechbaum II, Peter Kirsten, Josef Kaspar, Ursula & Christian Pfeiffer & Agnes Forsthofer
For Suzanne & Zoe Zimmer
In Memoriam David Kraft
Release date : 01/25/1994
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Lol, the times when Hans needed less than 10 people to do a score. :D This one's a very fine soundtrack, though.
Why is that an issue ?
Back in the days you might have had one guy (in most cases, Nick) but he was doing the same amount ALL the additionals nowadays combined do, so where's the difference ? :)
My comment was actually not meant to be judgemental. It's of course not an issure. I just find it interesting how things evolved over the years and I'm glad they have. ;)
And I was no replying with any animosity... lol
I didn't get it that way but it seems we got us both a little wrong, lol. :D It wasn't a critique on the amount of people working nowadays on his scores. I just wanted to point out how the team grew bigger along with the movies. ;)
This has probably been asked hundreds of times but is there anywhere where Hans himself talks about, in detail, the additional music process (not the PR crappy interviews he gives to sycophantic magazines and sites), or could you explain it Hybrid. I think the casting of it as "he writes a theme and then says 'okay guys write my score'" is a lazy analysis. I don't care who did exactly what note, I'm just interested in the process, and how involved Hans is at each step.
As far as I know for scores like Dead Man's Chest the process is something like this: Hans writes suites inspired by the film. This often starts before the movie is even shot and he also likes to hear the story from the director rather than reading the script. This can take a few months or so. Hans worked a month on the Jack Sparrow theme for example. After that, when film material is available Hans and his additional composers work together and score the scenes. They often sit down and discuss, sometimes also including the director and other crew members. So, basically Hans is always involved in the process and thus it's absolutely justified that he gets top credits at the end. He's like the director of the score (and also the screenwriter in some way), someone who looks at the big picture rather than the details. On other scores like Sherlock Holmes or Inception Hans and Lorne worked more separately, as far as I know. Lorne stated in an interview that he sees in which direction Hans is going and then tries to mimic the style or capture the vibe. Of course I can give no guarantee that this is correct, but it's how I understood it.
I'd be more curious to know how Zimmer gives his directions for the movies he doesn't even see completly (as it is the case with all the Michael Bay movies he worked on). Not a critic at all, I'm just curious.
About "The House of the Spirits", I agree, it's a very fine score. I especially love the two last minutes or so of "Clara"
You are the best composer ever; I just love your music. I purchased several of your soundtracks and stored them on my iPod. Unfortunately, the soundtrack from “The house of the spirits” was not available. If I don’t ask too much, please advise where from can I purchase the soundtracks that iTunes are missing. Keep up the fantastic good work. Your music is balsam to the soul.